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朝鮮時代 墨蘭畵 硏究

  • 강영주 (대학원 고고미술사학과 미술사학전공)

초록/요약

In Joseon Dynasty, the orchid served as a theme for poetry and paintings practiced and appreciated by people of various social classes ranging from the king to the royal family, the gentry, the middle class, state-hired painters, Buddhist monks and gisaeng. The gentry, the major creators of ink orchids paintings, aimed to be ‘Gentlemen’, the ideal personality of their Confucian philosophy. Above all, they tried to follow the example of Confucius and Qu Yuan, who were the eminent figures of Confucianism pursuing the Principle of Heaven(道) and the Virtue(德). The gentry personified and internalized ink orchids painting embodying the spirit of the plant that they tried to achieve and sought comfort in it. Ink orchids paining of the Joseon period was an object of self-discipline guiding to the moral and ethical way of life, which was the Confucian political ideology advocated by the royal court. Against the backdrop, ink orchids painting was cherished from the very early period of Joseon Dynasty by such kings as Sejong the Great, King Seongjong and Seon-jo. Symbolizing the spirit of orchids admired by the high class of Joseon, orchids paintings also appeared on crafts of the royal family such as the cases of okchak(jade books) and jukchak(bamboo books), blue and white porcelains. In the meanwhile, orchids became one of the most cherished subjects in upper culture. To art practitioners of the high class, what really mattered was the symbolic image of orchids so they refrained from reproducing its botanical features. They captured the symbolic image in an ideological manner. At the same time, artists of the Joseon period accepted external influence and projected what they were spiritually pursuing in their ink orchids painting. In this regard, ink orchids paintings of the Joseon dynasty developed in varying directions according to the painting purpose, techniques, the social class of painter and political circumstances. The thesis first looked into the ancient culture of orchids and the symbolic meaning of orchids. In ancient times, the orchid could be classified into three; 1) orchids as a primitive symbol for fertility and begetting a son by the botanical efficacy, 2) orchids believed to have effect of eliminating evil and poisonous energy, 3) orchids indicating a woven item to carry at the waist. As Confucianism became the ruling ideology of nation, orchids acquired a Confucian meaning to signify morality, leading to the development of Confucius’ Orchids standing for Gentleman, Qu Yuan’s Orchids for fidelity and Jeong Sa-Cho(鄭思肖)’s orchids materializing the image of loyalty(忠). Verses on orchids(猗蘭操) from the Analects rendered orchid-related symbol and metaphor like gentleman, ‘geumnanjigyo(金蘭之交)’, and ‘gonggokyuran(空谷幽蘭)’. Li Sao(離騷) and Nine Songs(九歌) by Qu Yuan from Verses of Chu(楚辭) gives a hint on the status of growing orchids and the symbol of loyalty and Chopae(紉佩). Jeongsacho described grief over loss of nation with Unmi Orchid Style(露根蘭), the orchids whose roots were exposed due to the lack of soil. Second, the thesis examined the advent of ink orchids painting and the establishment of ink orchids painting of Song and Yuan dynasty. Ink orchids painting linked with the primitive and Confucian symbol of the ancient era first appeared during the Song dynasty. The definition of ink orchids painting was set up between the late Song dynasty and the early Yuan dynasty. This period of time was led mainly by the school of literary artists and the school of female artists. Particularly, the ink orchids paintings of Xuechuang Puming, a Zen monk artist of Yuan dynasty had a significant influence on the high class of the early Joseon period and Japanese Zen monk artists of the Muromachi period. Hualan bifa ji(畵蘭筆法記; Notes on brush techniques for painting orchids), Xuechuang ‘s ink orchids painting album along with the theme and the seal allow the understanding of his Confucian, Taoist and Zen perspective in painting. Third, the thesis inquired into the literature regarding ink orchids paintings of the late Goryeo dynasty and the early Joseon dynasty. It appeared that during this period of time planting orchids and painting orchids took place through exchange with Song and Yuan dynasty. Lee Geo, a scholar of the late Goryeo period wrote about potted orchids. Yun Sam-san and Ok Seo-chim of the gentry class and Chuk Bun, a Buddhist monk are known to have produced quality ink orchids paintings. In the early Joseon period, Sejong the Great and King Seongjong engaged in ink orchids paintings. Yanghwa Sorok, a horticulture book by Kang Hee-an, famous for distinguished talents in poetry, calligraphy and painting provides detailed information on the sorts of orchid, growing methods and orchids paintings. Also, the thesis referred to about 60 pieces of poetry and painting poetry on orchids created by Seo Geo-jeong to gain the general understanding of orchids and ink orchids paintings of that time. Fourth, the thesis examined ink orchids painting of the mid Joseon period. This period, in which ink orchids paintings reached a full-flown development, was greatly influenced by Xuechuang Puming, a Zen monk artist specializing in ink orchids painting. Thus, his styles can be found in many works by practitioners of the royal and the gentry class in the mid Joseon period. The spirit of orchids that they were pursuing was the most sublime one in the painting history of Joseon. They not only adopted external influence from Song and Yuan dynasty, but also achieved their unique styles in response to internal needs that had built so far. Besides, orchid designs used on crafts also played a role to complement ink orchids painting of the mid Joseon period. Drastically breaking from the styles of Xuechuang, ink orchids paintings of the late Joseon period embraced orchids painting books of Ming and Qing dynasty such as Jieziyuan Huazhuan, Maejukransabo(梅竹蘭菊四譜), and Shizhuzhai shuhua pu(Manual of Calligraphy and Painting from the Ten Bamboo Studio). The artist who produced the most pieces during this period was Gang Se-hwang, also known as Pyoam. Materializing the lofty virtue of scholar, Gang developed his own unique and elegant style for ink orchids painting called ‘Pyoam’s Orchids’. The thesis also looked over the works of artists influenced by Gang’s style such as Chim Sa-jeong, Choi Buk and Im Hee-jee. The late Joseon period was the golden age of the ink orchids painting history in Joseon dynasty. This period was dominated by Kim Jeong-hee, also known as Chusa. Noticeably, he put much emphasis on the artist’s knowledge and character as well as techniques like Jwa-pil-beop(左筆法) and Sam-jeon-beop(三轉法; Three Twists) in ink orchids painting. Advocating the consistency between learning and art, Chusa valued the painting theories of Munjahyang(文字香), Shujuanqi(書卷氣) and Mungyongron(門逕論), through which he accomplished Chusa’s Orchids. Among other things, Kim sought the ideological beauty of ink orchids as an artist of the gentry. Among his major early works is Namaengcheop Album. During this period of time, Chusa was searching for his own style of painting orchids while following the tradition. In his late years when he was banished to Jeju Island, he finally developed Chusa’s Orchids that combined poetry, calligraphy, painting and Zen meditation altogether. Cho Hee-ryong, contrast with Chusa, was an artist from the middle class who created his own distinct style. Cho took a quite different way from Chusa in perceiving and painting ink orchids. While adopting some elements of Chusa, he relied much on inspiration in painting ink orchids. He also left many articles to tell techniques, attitude, efficacy and value of ink orchids painting. He stressed that an artist should reveal his own characteristics in his work, that manual techniques be important in ink orchids painting, and that an artist make his own style, not following others’. Heo Ryeon, praised by Kim Jeong-hee, began to paint ink orchids relatively late in his life. Heo considered the traditional elements of ink orchids painting as important. He imitated the ink orchids painting of Jieziyuan Huazhuan. If Kim Jeong-hee and Cho Hee-ryong are the two great pillars of ink orchids painting in the late Joseon period, Lee Ha-eung and Min Yeoung-ik are the two major artists who had a significant influence on modern ink orchids painting. Lee (also known as Seokpa) learned Chusa’s Orchids and developed his styles to establish ‘Seokpa’s Orchids’ which is ‘Gonggogyuran(空谷幽蘭)’ of Joseon. Although he studied and practiced Chusa’s Orchids in his early years, after going through political fluctuations he started to display outstanding talent in Nogeunrando and Orchids and Rocks(Seokrando). Min Yeong-ik too began painting in pursuit of Chusa’s Orchids. After seeking asylum in Shanghai, however, he presented his own elegant and sophisticated ink orchids paintings and formulated Unmi Orchid Style(芸楣蘭) known as Scent of Prince(王子香) and Scent of Gentleman(君子香). For literary artists of the Joseon period, when they suffered from social turmoil and political fluctuations, they needed a noble way to overcome. Through creating and appreciating ink orchids paintings, growing and collecting orchids, they personified the orchids of Confucius and Qu Yuan to find solace. Good examples can be found in Chusa, Kim Jeong-hee exiled to far-off Jeju Island, Cho Hee-ryong exiled to Imjado Island, Lee Ha-eung secluding himself in Jikgok and later confined in Tianjin, China and Min Yeong-ik seeking asylum in Shanghai. At time of such adversities, they immersed themselves even more in ink orchids painting, thereby developing various styles and achieving a splendid history of ink orchids painting of Joseon dynasty.

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목차

Ⅰ. 서론 7
Ⅱ. 고대 蘭文化와 난의 상징성 14
1. 난의 역사 14
2. 식물적 효능에 따른 원시적 상징 27
1) 得男의 상징 28
2) 僻邪의 상징 31
3) 紉佩의 상징 34
3. 儒家的 상징성의 확립 35
1) 君子의 표상 36
2) 忠節의 표상 40
3) ‘忠’ 이미지의 형상화 47
Ⅲ. 墨蘭畵의 출현과 정립 56
1. 묵란화의 출현과 宋代 묵란화 57
1) 묵란화의 출현 배경 57
2) 宋代 묵란화의 전개 58
2. 元代 「畵蘭法」의 등장과 묵란화의 정립 64
1) ‘雪窓蘭’과 「화란법」 그리고 회화관 64
2) ‘설창난’의 영향 83
Ⅳ. 高麗後期와 朝鮮初期 墨蘭畵 87
1. 고려후기 묵란화의 문헌적 고찰 87
1) 고려후기 사대부의 난 인식 89
2) 고려후기 묵란화의 경향 95
2. 조선초기 묵란화의 문헌적 고찰 99
1) 조선초기 사대부의 난 인식 99
2) 조선초기 난과 묵란화 103
Ⅴ. 朝鮮中期 墨蘭畵 111
1. 조선중기 묵란화의 성격과 의미 112
1) 왕공·사대부 묵란화의 양식과 특징 114
2) 왕공·사대부 묵란화의 의미 126
2. 공예품에 표현된 난화 133
Ⅵ. 朝鮮後期 墨蘭畵 147
1. ‘豹菴蘭’: 淸高한 선비의 德 148
1) 강세황의 묵란화 인식 149
2) 표암란의 연원과 양식적 특징 152
2. 조선후기 묵란화의 변화 168
1) 沈師正, 李麟祥, 崔北의 묵란화 168
2) 林熙之의 묵란화 175
Ⅶ. 朝鮮末期 墨蘭畵 182
1. ‘秋史蘭’: 文字香·書卷氣 183
1) 金正喜의 蘭畵論 183
2) ‘추사란’의 성격과 특징 197
2. ‘又峯蘭’: 手藝論·性靈論 209
1) 趙熙龍의 묵란화 인식 211
2) ‘우봉란’의 양식과 특징 225
3) 許鍊의 묵란화 237
3. ‘石坡蘭’: 朝鮮의 空谷幽蘭 258
1) 李昰應의 蘭畵論 259
2) ‘석파란’의 연원과 특징 265
4. ‘芸楣蘭’: 王子香과 君子香 274
1) 閔泳翊의 생애 276
2) 민영익 묵란화의 전개과 특징 289
3) 근대화단에 계승된 ‘운미란’ 307
Ⅷ. 결론 316
【參考文獻】326
【圖版目錄】347
ABSTRACT 351

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